The old ape sits on my knee, takes his instrument,--he plays fairly well,--he produces the notes, and I try to imitate them. Then, when the long-sought-for moment comes when it is impossible to distinguish in the body of sound which is the note on the violin and which proceeds from my throat, the old man falls into an ecstasy, his dim eyes light up with their last remaining fires, he is quite happy and will roll on the floor like a drunken man.
"That is why he pays Genovese such a price. Genovese is the only tenor whose voice occasionally sounds in unison with mine. Either we really do sing exactly together once or twice in an evening, or the Duke imagines that we do; and for that imaginary pleasure he has bought Genovese. Genovese belongs to him. No theatrical manager can engage that tenor without me, nor have me to sing without him. The Duke brought me up on purpose to gratify that whim; to him I owe my talent, my beauty,--my fortune, no doubt. He will die of an attack of perfect unison. The sense of hearing alone has survived the wreck of his faculties; that is the only thread by which he holds on to life. A vigorous shoot springs from that rotten stump. There are, I am told, many men in the same predicament. May Madonna preserve them!
"You have not come to that! You can do all you want--all I want of you, I know."
Towards morning the Prince stole away and found Carmagnola lying asleep across the door.
"Altezza," said the gondolier, "the Duchess ordered me to give you this note."
He held out a dainty sheet of paper folded into a ********. The Prince felt dizzy; he went back into the room and dropped into a chair, for his sight was dim, and his hands shook as he read:--
"DEAR EMILIO:--Your gondola stopped at your palazzo. Did you not know that Cataneo has taken it for la Tinti? If you love me, go to-night to Vendramin, who tells me he has a room ready for you in his house. What shall I do? Can I remain in Venice to see my husband and his opera singer? Shall we go back together to Friuli?
Write me one word, if only to tell me what the letter was you tossed into the lagoon.
"MASSIMILLA DONI."
The writing and the scent of the paper brought a thousand memories back to the young Venetian's mind. The sun of a single-minded passion threw its radiance on the blue depths come from so far, collected in a bottomless pool, and shining like a star. The noble youth could not restrain the tears that flowed freely from his eyes, for in the languid state produced by satiated senses he was disarmed by the thought of that purer divinity.
Even in her sleep Clarina heard his weeping; she sat up in bed, saw her Prince in a dejected attitude, and threw herself at his knees.
"They are still waiting for the answer," said Carmagnola, putting the curtain aside.
"Wretch, you have undone me!" cried Emilio, starting up and spurning Clarina with his foot.
She clutched it so lovingly, her look imploring some explanation,--the look of a tear-stained Samaritan,--that Emilio, enraged to find himself still in the toils of the passion that had wrought his fall, pushed away the singer with an unmanly kick.
"You told me to kill you,--then die, venomous reptile!" he exclaimed.
He left the palace, and sprang into his gondola.
"Pull," said he to Carmagnola.
"Where?" asked the old servant.
"Where you will."
The gondolier divined his master's wishes, and by many windings brought him at last into the Canareggio, to the door of a wonderful palazzo, which you will admire when you see Venice, for no traveler ever fails to stop in front of those windows, each of a different design, vying with each other in fantastic ornament, with balconies like lace-work; to study the corners finishing in tall and slender twisted columns, the string-courses wrought by so inventive a chisel that no two shapes are alike in the arabesques on the stones.
How charming is that doorway! how mysterious the vaulted arcade leading to the stairs! Who could fail to admire the steps on which ingenious art has laid a carpet that will last while Venice stands,--a carpet as rich as if wrought in Turkey, but composed of marbles in endless variety of shapes, inlaid in white marble. You will delight in the charming ornament of the colonnades of the upper story,--gilt like those of a ducal palace,--so that the marvels of art are both under your feet and above your head.
What delicate shadows! How silent, how cool! But how solemn, too, was that old palace! where, to delight Emilio and his friend Vendramin, the Duchess had collected antique Venetian furniture, and employed skilled hands to restore the ceilings. There, old Venice lived again.
The splendor was not merely noble, it was instructive. The archaeologist would have found there such models of perfection as the middle ages produced, having taken example from Venice. Here were to be seen the original ceilings of woodwork covered with scrolls and flowers in gold on a colored ground, or in colors on gold, and ceilings of gilt plaster castings, with a picture of many figures in each corner, with a splendid fresco in the centre,--a style so costly that there are not two in the Louvre, and that the extravagance of Louis XIV. shrunk from such expense at Versailles. On all sides marble, wood, and silk had served as materials for exquisite workmanship.
Emilio pushed open a carved oak door, made his way down the long, vaulted passage which runs from end to end on each floor of a Venetian palazzo, and stopped before another door, so familiar that it made his heart beat. On seeing him, a lady companion came out of a vast drawing-room, and admitted him to a study where he found the Duchess on her knees in front of a Madonna.
He had come to confess and ask forgiveness. Massimilla, in prayer, had converted him. He and God; nothing else dwelt in that heart.
The Duchess rose very unaffectedly, and held out her hand. Her lover did not take it.
"Did not Gianbattista see you, yesterday?" she asked.
"No," he replied.